gritty realism & a reluctance so as to add any native color & motion, redeemed by musical performances

One of many sights of Carmen is the way in which the Bizet has melded the normal opera comique color with a extra dramatic story-line, significantly given the title position company, she is way over the traditional operetta unhealthy lady. But there are many vibrant moments the place the music cries out for dance, color and motion. Michieletto and his designers set their faces resolutely towards this, setting the manufacturing in a somewhat bleak Spain of the Nineteen Seventies or Nineteen Eighties. In look, it jogged my memory of early Pedro Almodovar movies or different Spanish movies from the period resembling these of Bigas Luna, however with out the emotional skittishness. This was a somewhat bleak world.

The essential set was a bald, sun-drenched panorama and in every act there was a single constructing. All 4 used the revolve, with us seeing inside and outside of the constructing. And, a lot credit score to designers and manufacturing crew, the gaps between acts have been minimal. For Act One, we have been at a shabby police station with plenty of locals hanging round (there was a handful of policemen and the rest of the boys have been merely locals); there was no formal altering of the guard and the youngsters arrived enjoying Cowboys and Indians. For Act Two, the nightclub (run by Dancairo) was extra a brothel than the rest, with no clientele, cheesy within the excessive and with none dancing women. Carmen’s opening quantity was carried out on her personal within the automotive park. For Act Three we have been on the smugglers’ den and for Act 4 the bull ring was undoubtedly a somewhat shabby native affair, the bull fighters did seem however we had no procession.

The outcome introduced fierce depth to the story, however within the moments the place Bizet’s music calls out for dance we bought subsequent to nothing. For all Aigul Akhmetshina’s superb efficiency, and it was superb certainly, each the Habanera and ‘Les tringles des sistres tintaient’ had some somewhat ‘vamp until prepared’ moments within the staging while you longed for a extra formal dance aspect. As a substitute, Michieletto centered in on the destiny aspect from the music, and each time this occurred within the orchestra the determine of Don Jose’s mom occurred on stage. Reasonably old school trying, in black full with mantilla she was somewhat a destiny determine and served to remind each Carmen and Don Jose of the duties. Michieletto sees the plot as Don Jose’s battle between household and freedom; to this finish the time line is compressed in order that Act Three befell the evening after Act Two with Act 4 a couple of days later. Definitely not time sufficient for Don Jose and Carmen’s relationship to come back adrift within the conventional approach and for Don Jose to get twisted and labored up.

Aigul Akhmetshina made a really musical Carmen, suitably attractive and in Act One displaying a resolute independence. Within the Habanera and Seguidille she was fashionable and didn’t push the sexiness too far, while ‘Les tringles des sistres tintaient’ was very a lot the women entertaining themselves with fantasies. The cardboard trio in Act Three was superb certainly. This Carmen was introduced as a considerably troubled determine from the beginning, apt to get careworn and depressed; she flounced off in Act Two in order that Beczala’s Don Jose sang most of ‘La fleur que tu m’avais jetée’ to himself. This meant that when the music darkens in Act Three, significantly within the card trio, we weren’t shocked, nor did Carmen’s fatalism in Act 4 come as a shock both. Akhmetshina appeared to be somewhat channelling Amy Winehouse, however for all her musicality and stylishness, there appeared to be an important aspect lacking and Akhmetshina didn’t fairly dominate or take management of the stage, nor did her relationship with Piotr Beczala’s Don Jose crackle in the way in which it ought to. 

Piotr Bczala was a finely dramatic Don Jose, nicely as much as the ability calls for of the position but with none tendency to bawl and with a stunning means to superb his voice down when wanted. There have been some tough edges to his tone, unsurprising in a singer who has been making a stir with the title position of Wagner’s Lohengrin. This Don Jose had a barely off-centre method to his relationships although; throughout his Act One duet with Olga Kulchynska’s Micaela, he appeared to spend many of the duet making an attempt to not be intimate her. And, as I discussed, Baczala’s splendidly intimate account of ‘La fleur que tu m’avais jetée’ was largely to himself. In Act Three, Baczala’s Don Jose appeared to be somewhat to nicely balanced and never on the finish of his tether, and this continued in Act 4 and solely on the finish did he break. Total, Baczala appeared to be somewhat too smart and well-put collectively, although this was a musically participating efficiency.

Olga Kulchynska was a compelling Micaela, slight and girlish however with an interior core that fuelled her. Shy however making herself go additional than essential, Kulchynska made the Act One duet way over the nice quantity it may usually be and she or he imbued her efficiency with innate drama. This continued in Act Three the place her finely musical efficiency was steadiness by compelling drama.

As Escamillo, Kostas Smoriginas introduced musicality and an interesting swagger the position, making him each pleasurable and plausible. This Escamillo came visiting as nearly the one likeable character within the opera, safe in his perception in himself and open in his dealings.

The smaller roles have been all nicely taken. Having two Francophone singers as Dancairo and Remendado, Pierre Doyen and Vincent Ordonneau, was a fantastic boon. The 2 prevented any sense of the comedian, however they and Manacorda introduced a lightness and pointedness to their music, the scenes with the smugglers in Act Two are among the most comedian opera within the piece and the efficiency mirrored this type in a pointed approach. Blaise Malaba was a strong and somewhat slimy Suniga with Grisha Martirosyan as a musical however untrustworthy side-kick. Sarah Dufresne and Gabriele Kusyte made a vigorous pairing as Frasquita and Mercedes, bringing a lightness to their musical efficiency but in addition actually leaning in to the thought of the 2 being hookers.

Within the pit, the orchestra below Antonello Manacorda have been on terrific kind. Within the overture, Manacorda’s speeds took no prisoners and all through he stored the work on a blessedly tight rein, guaranteeing that it flowed. Not like some performances, there was by no means any trace of Act One outstaying its welcome, and thta does occur. Manacorda gave area for the singers within the well-known numbers however with out straying into over romanticised territory. There was a way of metal below the opera comique exterior, and all these comedian opera bits in Act Two had a stunning pointed aspect to them. Frankly, it was Manacorda and the orchestra’s contribution that made it for me.

The Royal Opera has invested closely on this manufacturing with 16 performances within the first run, but Michieletto’s resolution to go for gritty realism and keep away from any sense of participating native color may harm them in the long term. It was noticeable that folks left on the interval. Carmen is an opera that draws audiences who don’t go to the opera fairly often, which is laudable and admirable. However it’s also an opera that guarantees a vibrant backdrop to a strong love tragedy. Right here we had no vibrant backdrop, no gypsies or dancing and nothing to switch them. For an inexperienced opera goer the ensuing manufacturing might certainly by off-putting.